Typografia 2 Brief
1
1
Max Gregory
A typographic exhibition with talks
Continuation of a brief previously undertaken
Background
Mandatory Requirements
Range
OUGD301
from relevant designers.
surrounding the creation of a typographic
Typografia is now onto its second event, so
The event again should provide a platform for a
Event promo
Level 6
exhibition based on ten classic typefaces and
consider how the identity of the exhibition can be
number of speakers and creatives to come to-
Posters
1/5
the studios using them. This brief should look at
original and relevant, whilst retaining the element
gether. Look at how the history of swiss type can
Flyers
specifically Swiss modernist typefaces and the
of recognition afforded by the identity of the first
be conveyed through the exhibition identity.
Prints
masters of the international typographic style,
event. Consider specifically the use of colour &
Tickets
using the same exhibition format as the
shape within the identity, but also how a different
Event publication
previous event.
approach could be taken in the promotion of an
Event identity
event about Swiss modernist typography.
Logotype
Typografia 2 Range
A talk by Henrik Kubel. of A2/SW/HK A2/SW/HK is an independent design studio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across various disciplines. They create bespoke typefaces and custom-made design solutions for each project that are informed and shaped by a clear understanding of both content and context.
18/01/2013
5.00pm
Museum Für Gestaltung Zürich
CHF 15
Halle, Galerie, Vestibül, Bibliotheksgang, Vortragssaal Ausstellungsstrasse 60 CH-8005 Zürich
Tickets available at the museum or online at www.museumgestaltung.ch and www.typocircle.com
An exhibition of modernist typography.
An exhibition of modernist typography.
An exhibition of modernist typography.
An exhibition of modernist typography.
A2/SW/HK
A2/SW/HK
EXPERIMENTAL JETSETTALKATTHEMUSEUMFÜRGESTALTUNGZURICH 17HUN22.01.201315 DREDHOURS. CHF
EXPERIMENTAL JETSETTALKATTHESTEDELIJKMUSEUMAMSTERDAM 17HUN23.02.201315 DREDHOURS. EUROS
A talk by Henrik Kubel. of A2/SW/HK A2/SW/HK is an independent design studio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across various disciplines. They create bespoke typefaces and custom-made design solutions for each project that are informed and shaped by a clear understanding of both content and context.
5.00pm
Stedelijk Museum Amsterdam
15 Euros
Museumplein10 1071 DJ Amsterdam
Tickets available at the museum or online at www.museumgestaltung.ch and www.typocircle.com
The Typographic circle / www.typocircle.com Museum Für Gestaltung / museum-gestaltung.ch
A1
The Typographic circle / www.typocircle.com Museum Für Gestaltung / museum-gestaltung.ch
The Typographic circle / www.typocircle.com Stedelijk Museum / www.stedelijk.nl
15/02/2013
An exhibition of modernist typography.
An exhibition
of modernist
typography.
An exhibition
of modernist
typography.
Josef MüllerBrockman Education:
F um g se tun Mu stal ch i Ge Zür tibül,
The Typographic circle / www.typocircle.com Museum Für Gestaltung / museum-gestaltung.ch
2
Born:
ür
es l a ,V rie ssa 0 ale rag , G ort se 6 V lle s Ha ng, stra rich a s sg ung 5 Zü ek th stell -800 s CH Au
o ibli
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Work:
Born:
Exploring the International Typographic style and the designers that made it happen.
Education: Work:
A2/SW/HK is an independent design studio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across various disciplines. They create bespoke typefaces and custom-made design solutions for each project that are informed and shaped by a clear understanding of both content and context.
Henrik Kubel
Veranstaltungsprogramm
Wim Crouwel started his own free-lance practice in amsterdam (1954). In 1963, with benno wissing, friso kramer and the schwarz brothers, he founded design studio total design. He designed and oversaw extensive work for the stedelijk museum in amsterdam (1964-85). In 1967 he published his experimental new alphabet. Crouwel was professor at the delft university (1972-85). He was director of the boijmans van beuningen museum, rotterdam (1985-93). He received the british obe, is a rdi, knight of the dutch lion, officer of orange nassau. Got the dutch oeuvre award 2004.
CHF 10 / €15
Danny van Dungen & Marieke Stolk
A talk by Henrik Kubel. of A2/SW/HK
18/01/2013
20/01/2013
für einen Stil, der auf noch neute lebt gebildet.
Work
Internationalen typografischen Stil und die Designer, die Grundlage
a style which lives on today.
Since it was co-founded in Amsterdam in 1997 by Erwin Brinkers, Marieke Stolk and Danny van Dungen, Experimental Jetset has emerged as one of Europe’s most inventive graphics teams through projects in the culture, music, fashion and publishing sectors. Believing that there should be an inner logic to graphic design, Experimental Jetset develop coherent systems for each project and then imbue it with an idiosyncratic combination of references to modernist design, typified by the use of the well-known typeface Helvetica.
“perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.”
Friendly ghosts
Eine Untersuchung der
typographic style and the designers who formed the basis of
Museum Für Gestaltung / www.museum-gestaltung.ch Stedelijk Museum / www.stedelijk.nl/
admit one (adult)
Eine Untersuchung der Internationalen typografischen Stil und die Designer, die Grundlage für einen Stil, der auf noch neute lebt gebildet.
Museum Für Gestaltung, Zurich The Typographic Circle / www.typocircle.com Stedelijk Museum / www.stedelijk.nl
valid : 12th-27th February
Josef Müller-Brockman Armin Hofmann Max Bill Wim Crouwel Robert Büchler Emil Ruder Jan Tschichold Max Huber Karl Gerstner Richard Paul-Lohse
Halle, Galerie, Vestibül, Bibliotheksgang, Vortragssaal Ausstellungsstrasse 60 CH-8005 Zürich
admit one (adult)
Stolk and Danny van Dungen, Experimental Jetset has emerged as one of Europe’s most
valid : 23rd February 5:00pm
inventive graphics teams through projects in the culture, music,
€15
admit one (adult)
fashion and publishing sectors.
Experimental Jetset 25th January 5:00pm A talk by Danny van Dungen and Marieke Stolk of Experimental Jetset
Museum Für Gestaltung, Zurich Halle, Galerie, Vestibül, Bibliotheksgang, Vortragssaal Ausstellungsstrasse 60 CH-8005 Zürich
valid : 25th January 5:00pm admit one (adult)
Born:
Education: Work:
2 April, 1902 Leipzig Akademie for Grafische Künste and Buchgewerbe School for the Applied Arts, Switzerland Penguin Books
Karl Gerstner
Emil Ruder
Born:
Born:
July 2, 1930 Basel Allgemeine Gewerbeschule Fritz Büler studio Gerstner+Kutter
Education: Work:
Work:
16th— 29th january
Stedelijk Museum Amsterdam
Education: Work:
June 5, 1919 Baar Kunstgewerbeschule Zurich Conzett&Huber Einaudi publishing house Scuola Umanitaria, Milan
March 20, 1914 Zürich School of Arts and Crafts, Zurich Schule für Gestaltung, Basel International Center for the Typographic Arts
12th— 27th February Exploring the International Typographic style and the designers that made it happen.
The Typographic circle / www.typocircle.com Museum Für Gestaltung / museum-gestaltung.ch
Max Gregory
A1 / 841 x 594mm Talk posters
OUGD301
A2 / 594 x 420mm Event posters
Range of collateral produced for typografie
The two distinct exhibitions are represented
Level 6
A2 / 594 x 420mm Prints
exhibition at both the Stedelijk Museum in
using the choice of stock. The Exhibition at
2/5
200 x 200mm Event programme
Amsterdam and the Museum Für Gestaltung
the Stedelijk uses red stock printed black. The
A5 / 210 x 148mm Event flyers
in Zurich. Two museums synonymous with
Museum Für Gestaltung makes use of
A6 / 148 x 105mm Talk Transcripts
modernist designers, both with a large
off-white stock printed either red or black.
155 x 75mm Tickets
collection of Swiss posters and publications.
These allow the two to be recognised easily.
December 22, 1908 Winterthur Bauhaus Dessau School of Arts, Zurich Ulm School of Design Own studio
Born: Education:
Work:
April 23, 1914 Basel A.G Frobenius Basel school of design Basel Art Museum Basel School of design
Richard Paul Lohse Born: Education: Work:
September 13, 1902 Zurich Kunstgewerbeschule Zurich Max Dalang AG, own studio
Wim Crouwel Born: Education: Work:
November 21, 1928 Groningen Academie Minerva Gerrit Rietveld Academie Total Design
Armin Hoffmann
Jan Tschichold
Max Huber
Born:
Born:
Born:
Education: Work:
June 29, 1920 Winterthur Kunstgewerbeschule Zurich Allgemeine Gewerbeschule, Basel
Education: Work:
2 April, 1902 Leipzig Akademie for Grafische Künste and Buchgewerbe School for the Applied Arts, Switzerland Penguin Books
Karl Gerstner
Emil Ruder
Born:
Born:
Education: Work:
The Typographic circle / www.typocircle.com Stedelijk Museum / www.stedelijk.nl
“perfection is achieved, not when there is nothing left to add, but when there is nothing left to remove.”
Born: Education: Work:
May 9, 1914 Rapperswil Kunstgewerbeschule Zurich Own Zurich based studio
Robert Büchler
Max Bill
Stedelijk Museum Museumplein 10 1071 DJ Amsterdam, Netherlands
Exploring the International Typographic style and the designers that made it happen.
MadeThought is known for a deliberate and crafted aesthetic, and believes in the strength and purity of rigorous graphic application. With an eclectic range of projects and commissions, their clients have included Adidas, Stella McCartney, Candy & Candy, MTV, Reiss and Nokia.
The Typographic circle / www.typocircle.com The Stedelijk Museum / www.stedelijk.nl
June 29, 1920 Winterthur Kunstgewerbeschule Zurich Allgemeine Gewerbeschule, Basel
Born:
Founded in 2000 by Ben Parker and Paul Austin, MadeThought is a multi-disciplinary design consultancy that has amassed a diverse and impressive client list, within brand identity, art-direction, packaging, print and interactive design.
29/01/2013
CHF 7
founded in Amsterdam in 1997 by Erwin Brinkers, Marieke
The Typographic Circle / www.typocircle.com Stedelijk Museum / www.stedelijk.nl
Since it was co-
museumplein10 1071 DJ amsterdam
November 21, 1928 Groningen Academie Minerva Gerrit Rietveld Academie Total Design
Born:
Education:
Education:
Work to Date
A talk by Danny van Dungen and Marieke Stolk of Experimental Jetset
The Typographic Circle / www.typocircle.com Stedelijk Museum / www.stedelijk.nl
23rd February 5:00pm
stedelijk museum amsterdam
Work:
Born:
Josef MüllerBrockman
A talk by Ben Parker and Paul Austin of MadeThought Ben Parker & Paul Austin
Experimental Jetset
CHF 7
€15
Since it was cofounded in Amsterdam in 1997 by Erwin Brinkers, Marieke Stolk and Danny van Dungen, Experimental Jetset has emerged as one of Europe’s most inventive graphics teams through projects in the culture, music, fashion and publishing sectors.
Born: Education:
The Typographic circle / www.typocircle.com Museum Für Gestaltung / museum-gestaltung.ch
Made Thought
valid : 16th-29th January
CHF 7
Richard Paul-Lohse
an exploration of the International Typographic style and the designers who formed the basis of a style which lives on even today.
museumplein10 1071 DJ amsterdam
€15
Max Huber Karl Gerstner
stedelijk museum amsterdam The Typographic Circle / www.typocircle.com Stedelijk Museum / www.stedelijk.nl
Emil Ruder Jan Tschichold
Wim Crouwel Robert Büchler
MadeThought
Eine Untersuchung der Internationalen typografischen Stil und die Designer, die Grundlage für einen Stil, der auf noch neute lebt gebildet.
Armin Hofmann Max Bill
CHF 7
€15
Josef Müller-Brockman
12th— 27th February Exploring the International Typographic style and the designers that made it happen.
The Typographic circle / www.typocircle.com
an exploration of the International Typographic style and the designers who formed the basis of a style which lives on even today.
B
A talk by Danny van Dungen and Marieke Stolk of Experimental Jetset
25/01/2013
A Graphic Oddysey
An exploration of the international
Experimental Jetset
Stedelijk Museum Museumplein 10 1071 DJ Amsterdam, Netherlands
April 23, 1914 Basel A.G Frobenius Basel school of design Basel Art Museum Basel School of design
An exhibition of modernist typography.
Experimental Jetset
A2/SW/HK
A talk by Wim Crouwel
Wim Crouwel
English - Deutsche
Event Programme
A2 Type
Total Design
Wim Crouwel
Josef Müller-Brockman Armin Boffman Max Bill Max Meidinger Robert Büchler Emil Ruder Jan Tschichold Max Huber Karl Gerstner Richard Paul-Lohse
ül, stib Ve al ie, sa ler gs Ga rtra e 60 , Vo ss lle Ha ang, stra rich g gs Zü ks un 5 he tell 800 ot s ibli Aus CH
Work:
September 13, 1902 Zurich Kunstgewerbeschule Zurich Max Dalang AG, own studio
Wim Crouwel
Max Huber
Work:
Stedelijk Museum Amsterdam
Born: Education:
Work:
Jan Tschichold
Education:
A1
December 22, 1908 Winterthur Bauhaus Dessau School of Arts, Zurich Ulm School of Design Own studio
Richard Paul Lohse Born: Education:
Armin Hoffmann Work:
r Fü m u g se ltun u M sta ch i Ge Zür
Robert Büchler
Max Bill
16th— 29th january
May 9, 1914 Rapperswil Kunstgewerbeschule Zurich Own Zurich based studio
July 2, 1930 Basel Allgemeine Gewerbeschule Fritz Büler studio Gerstner+Kutter
Education: Work:
March 20, 1914 Zürich School of Arts and Crafts, Zurich Schule für Gestaltung, Basel International Center for the Typographic Arts
Education: Work:
June 5, 1919 Baar Kunstgewerbeschule Zurich Conzett&Huber Einaudi publishing house Scuola Umanitaria, Milan
2
Typografia 2 Publications
7-10
Typografie ist eine Veranstaltung im Anschluss an die
cessful ‘typografia’ at London Design Museum last year. The
unendlich erfolgreichen “typografia” am London Design
previous event looked at classical typefaces and the effect
Museum im vergangenen Jahr. Die Vorveranstaltung sah
they’ve had on design, however we wanted to change it up
klassischen Schriften und die Wirkung, die sie auf die
this year.
Gestaltung gehabt haben, aber wir wollten es ändern sich in
Born
diesem Jahr.
: Kunstgewerbeschule
Work
Zurich : Own Zurich based studio
a style which lives on today.
für einen Stil, der auf noch neute
an den Designer und Werbeberater Walter Diggelman vor,
Own Zurich based studio
before, in 1936, establishing his own Zurich studio
im Jahr 1936, der Gründung seines eigenen Zürich Studio
specialising in graphics, exhibition design and photography.
spezialisiert auf Grafik, Ausstellungsdesign und Fotografie. In den 1950er Jahren wurde er als der führende Praktiker
dem International Typographic Style - oder Schweizer De-
and theorist of Swiss Style, which sought a universal
und Theoretiker des Swiss Style, die eine universelle
sign. Diese Designer sehr oft in einer Reihe von Disziplinen
graphic expression through a grid-based design purged
grafische Ausdruck durch ein Gitter-basiertes Design
one to the other. Architectural vision and spatial awareness
und ziehen Erfahrung, Wissen und industrieller Praxis von
of extraneous illustration and subjective feeling. His
von Fremdwasser Darstellung und subjektive Gefühl
blend into design practice, and theories developed from
einem zum anderen. Architektonische Vision und räumliche
“Musica viva” poster series for the Zurich Tonhalle drew
gespült suchten etabliert. Seine “Musica viva” Plakatserie
teaching further informed their practice to create one of the
Wahrnehmung verschmelzen zu Design-Praxis und Theorien
on the language of Constructivism to create a visual
für das Zürcher Tonhalle stützte sich auf die Sprache
quickest moving and most radical design directions post
von der Lehre weiterentwickelt informiert ihre Praxis zu
correlative to the structural harmonies of the music.
des Konstruktivismus, um eine visuelle Korrelat zu den
war.
einer der am schnellsten bewegenden und radikalsten
Müller-Brockmann was founder from and, from 1958 to
strukturellen Harmonien der Musik zu schaffen. Müller-
1965, co-editor of the trilingual journal Neue Grafik (New
Brockmann war Gründer von und, von 1958 bis 1965,
Graphic Designer) which spread the principles of Swiss
Mitherausgeber des dreisprachigen Zeitschrift Neue
Design internationally. He was professor of graphic design
Grafik (New Graphic Designer), die die Grundsätze des
Robert Büchler Born
: April 23, 1914
2
bitions at the Stedelijk in Amsterdam and the museum for
Der Umzug von London Design Museum und hält zwei Aus-
design in Zurich, We’ve moved typografie closer to its roots.
stellungen im Stedelijk in Amsterdam und dem Museum für
3
Education
Born
Work
: November 21, 1928 : Groningen
: A.G Frobenius : Basel school of design : Basel Art Museum : Basel School of design
Education Work
: Academie Minerva : Gerrit Rietveld Academie : Total Design
at the Kunstgewerbeschule, Zurich from 1957 to 1960, and
Swiss Design verbreitet international. Er war Professor für
guest lecturer at the University of Osaka from 1961 and the
Grafik-Design an der Kunstgewerbeschule in Zürich von
seinen Wurzeln.
Hochschule fur Gestaltung, Ulm from 1963. From 1967 he
1957 bis 1960, und Gastdozent an der Universität Osaka
was European design consultant for IBM. He is the author of
aus dem Jahr 1961 und der Hochschule für Gestaltung,
“Can you image the
The Graphic Artist and his Design Problems (1961), History
Ulm von 1963. Ab 1967 war er europäischer Design-
Chartres Cathedral, the
of Visual Communication (1971), History of the Poster
Berater für IBM. Er ist der Autor von The Graphic Artist und
Eiffel Tower or the work of
(with Shizuko Müller-Yoshikawa, 1971) and Grid to many
seine Design-Probleme (1961), Geschichte der Visuellen
Le Corbusier other than how
symposiums and has held one-man exhibitions in Zurich,
Kommunikation (1971), Geschichte der Poster (mit Shizuko
they are? No great work is
Bern, Hamburg, Munich, Stuttgart, Berlin, Paris, New York,
Müller-Yoshikawa, 1971) und Grid zu vielen Symposien und
created without material
Chicago, Tokyo, Osaka, Caracas and Zagreb. In 1987 he
hatte Ein-Mann-Ausstellungen in Zürich, Bern, Hamburg,
rules, without knowing
was awarded a gold medal for his cultural contribution by
München, Stuttgart, Berlin, Paris, New York, Chicago,
about stress ratios or the
the State of Zurich.
Tokio, Osaka, Caracas und Zagreb. 1987 wurde er mit
Max Huber Born Education
The Typographic circle / www.typocircle.com Museum Für Gestaltung / www.museum-gestaltung.ch
Work
Stedelijk Museum / www.stedelijk.nl/
Deutsche
: June 5, 1919 : Baar : Kunstgewerbeschule Zurich : Conzett&Huber : Einaudi publishing house : Scuola Umanitaria Milan
Karl Gerstner Born Education Work
English
: July 2, 1930 : Basel : Allgemeine Gewerbeschule : Fritz Büler studio : Gerstner+Kutter
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Atelier verlassen überprüft, ausgewertet und gegebenenfalls
When you look at today’s increasing irrationality, the endless
Wenn Sie heute auf die zunehmende Irrationalität aussehen,
geändert durch mich. Danach werden die Partner nahmen
lust of power and its destructive consequences, do you see
haben die endlosen Gier der Macht und ihrer zerstörer-
from start to finish.
an Projekten, dass sie durch sahen unabhängig vom Anfang
any hope for reason and humane communication? What can
ischen Folgen, sehen Sie jede Hoffnung auf Vernunft und
bis zum Ende.
designers contribute?
humane Kommunikation? Was kann Designern beitragen?
Negative things can also provoke positive things. The search
Negative Dinge können auch provozieren positive Dinge. Die
for a better quality of life has led to the creation of many
Suche nach einer besseren Lebensqualität hat zur Schaf-
institutions concerned with examining eastern and western
fung zahlreicher Institutionen mit der Prüfung östlichen und
Would you still teach the grid and order today?
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Can you image the Chartres Cathedral, the Eiffel Tower or the work of Le Corbusier other than how they are? No great
JMB? Können Sie sich vorstellen die Kathedrale von
philosophy in order to find meaning of our lives and how we
westlichen Philosophie, um Sinn unseres Lebens und wie
work is created without material rules, without knowing
Chartres, der Eiffelturm oder das Werk von Le Corbusier
might live accordingly. In the various areas of design the
wir danach leben zu finden betroffenen geführt. In den ver-
about stress ratios or the laws of perception. Sometimes I
andere als wie sie sind? Keine große Arbeit ohne Material
democratic approach – the awareness that our professional
schiedenen Bereichen der Gestaltung der demokratischen
would set my students to an introductory exercise of depict-
Regeln erstellt, ohne es zu wissen Spannungsverhältnisse
efforts should be directed to the good of the general public
Ansatz - das Bewusstsein, dass unsere professionellen
ing a dam burst typographically to bring out the difference
oder die Gesetze der Wahrnehmung. Manchmal würde ich
– has become stronger. The contribution of this approach
Bemühungen um das Wohl der Allgemeinheit gerichtet sein
between expressive and informative design. We always got
meine Schüler zu einem Einführungspreis Ausübung der
to the achievement of a more humane future should not be
sollte - ist stärker geworden. Der Beitrag dieses Ansatzes
interesting, and occasionally hilarious, results. Tomorrow or
Darstellung eines Dammbruch typografisch zu bringen, den
underestimated.
zur Erreichung der eine humanere Zukunft sollte nicht
in ten or 20 years time aesthetic tastes will have changed,
Unterschied zwischen expressiven und informative Design.
but laws last and are independent of time. The golden sec-
Wir bekamen immer interessant, und gelegentlich komisch,
tion, for instance, is a simple, elegant ratio of proportions
Ergebnisse. Morgen oder in zehn oder 20 Jahren ästhetisch-
that is understood by all cultures and is present in both man
en Geschmack wird sich geändert haben, aber Gesetze letz-
and nature. In teaching I try to establish rational-objective
ten und sind unabhängig von der Zeit. Der Goldene Schnitt,
foundations that are accepted by all and which can be
zum Beispiel, ist eine einfache, elegante Verhältnis der
developed individually.
Proportionen, die von allen Kulturen verstanden wird und ist
tion to the future of society. I have never lost the feeling that
Habe ich immer das Gefühl, verpflichtet, einen konstruk-
in Mensch und Natur. In der Lehre Ich versuche rational-
I have a task to perform. What pleases me is that I have al-
tiven Beitrag für die Zukunft der Gesellschaft zu leisten.
objektiven Grundlagen, die von allen und die individuell
ways sought what is better, that I have remained self-critical,
Ich habe nie das Gefühl, dass ich eine Aufgabe zu erfüllen
entwickelt werden können akzeptiert werden zu etablieren.
and that I am still interested in things outside my own field.
haben verloren. Was mich ist, dass ich immer versucht, was
My library is the expression of my curiosity. My library is the
besser ist, dass ich geblieben selbstkritisch, und dass ich
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Deutsche
ners took on projects that they saw through independently
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English
evaluated and possibly amended by me. Thereafter the part-
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Zürich verliehen.
noch heute?
8
9
hcrud einomraH ellesrevinu eid eid ,gnulletssuA enie
einer Goldmedaille für seine kulturellen Beitrag des Landes
— Josef Müller-Brockman
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laws of perception.”
Deutsche
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7
Gestaltung in Zürich, haben wir typografie rückte näher an
lebt gebildet.
English
Wim Crouwel
: Basel
Designrichtungen Nachkriegszeit schaffen.
3
Kunstgewerbeschule. Er begann seine Karriere als Lehrling
to the designer and advertising consultant Walter Diggelman
pull experience, knowledge and industrial practice from
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und die Designer, die Grundlage
Kunstgewerbeschule. He began his career as an apprentice
Work :
designers very often work across a range of disciplines and
yhpargohtiL
designers who formed the basis of
Kunstgeschichte an der Universität Zürich und an der Stadt
Kunstgewerbeschule, Zurich
By the 1950s he was established as the leading practitioner
6
Internationalen typografischen Stil
Jahr 1914 geboren und studierte Architektur, Design und
history of art at the University of Zurich and at the city’s
tischen Grafiker, insbesondere solche, gleichbedeutend mit
25-26
typographic style and the
Josef Müller-Brockmann wurde in Rapperswil, Schweiz im
Switzerland in 1914 and studied architecture, design and
Education :
Typografie sieht sehr detailliert auf die Arbeit von modernis-
23-24
Eine Untersuchung der
Josef Müller-Brockmann was born in Rapperswil,
May 9, 1914, Rapperswil
International Typographic Style - or Swiss Design. These
Moving from London Design museum and holding two exhi-
An exploration of the international
Born :
graphic designers, particularly those synonymous with the
17-18
CHF 10 / €15
die Designer
: May 9, 1914
Education
Typografie looks in great detail at the work of modernist
Veranstaltungsprogramm
Josef Müller-Brockman
: Rapperswil
15-16
English - Deutsche
Event Programme
Typografie is an event following on from the infinitely suc-
hciruZ suahnrepO
Josef Müller-Brockman Armin Boffman Max Bill Max Meidinger Robert Büchler Emil Ruder Jan Tschichold Max Huber Karl Gerstner Richard Paul-Lohse
Josef Müller-Brockman
3..giF
unterschätzt werden.
34
35
YSS
When you look back on your work, what appears important
Wenn Sie zurückblicken auf Ihre Arbeit, was scheint Ihnen
to you? What would you like to pass on to young people?
wichtig? Was würden Sie gerne weitergeben an junge Menschen?
JMB
I have always felt obliged to make a constructive contribu-
What typeface would you choose if you were a young
YSS? Welche Schrift würden Sie wählen, wenn Sie ein
expression of my curiosity. I would advise young people to
noch Dinge außerhalb meiner eigenen Bereich interessiert.
graphic designer today?
junger Grafiker waren heute?
look at everything they encounter in a critical light and try to
Meine Bibliothek ist der Ausdruck meiner Neugier. Meine
find a better solution. Then I would urge them at all times to
Bibliothek ist der Ausdruck meiner Neugier. Ich würde Ihnen
Berthold’s Akzidenz Grotesk and the classical Roman types
JMB? Berthold Akzidenz Grotesk und die klassischen Ro-
be self-critical.
raten, junge Menschen auf alles, was sie in einem kritischen
such as Garamond, Bodoni, Caslon and Baskerville. I have
man Typen wie Garamond, Bodoni, Caslon und Baskerville.
Licht begegnen schauen und versuchen, eine bessere
come to value Akzidenz Grotesk more than its successors
Ich habe den Wert Akzidenz Grotesk kommen mehr als
Lösung zu finden. Dann würde ich sie jederzeit auffordern,
Helvetica and Univers. It is more expressive and its formal
seinen Nachfolger Helvetica und Univers. Es ist mehr
sich selbst kritisch.
foundations are more universal. The end of the “e”, for in-
Ausdruckskraft und ihre formalen Grundlagen sind univer-
stant, is a diagonal which produces right angles. In the case
sal. Das Ende der “e” für Augenblick, eine diagonale, die
of Helvetica and Univers the endings are straight, producing
rechtwinklig produziert. Im Falle der Helvetica und Univers
acute or obtuse angles, subjective angles.
die Endungen sind gerade, Erzeugen spitzen oder stumpfen Winkel, subjektive Winkeln.
First published in Eye no. 19 vol. 5, 1995
Zuerst in Eye Magazin Nr. 19, Veröffentlicht. 5, 1995
English
Deutsche
.treirtsnomed
ehcstueD
Total Design
Total Design
Total Design
A2 Type
A talk by Henrik Kubel. of A2/SW/HK
A talk by Wim Crouwel
2
Axima cus. Ro et mo conseditate rernatur? Ovit ullame nis quo eum dolorepudit quatet excest quo modiat. Sed quaecusapis conseque volorro et laborem aut labo. Id eum, ut occab il magni blaborem atiorupta consed eum utatatum qui sitio excea pore apereperrum volum dolorem poreproviti ommodio nseque consequi dolorpo rerores ut volorite preperspedi aliam experibeatem seque sequist quam sinciet odit peliquat quide vel ium evelessum.
In 1967 he published his experimental new alphabet. Crouwel was professor at the delft university (1972-85). He was director of the boijmans van beuningen museum, rotterdam (1985-93). He received the british obe, is a rdi, knight of the dutch lion, officer of orange nassau. Got the dutch oeuvre award 2004.
18/01/2013
20/01/2013
3
A Graphic Oddysey
A Graphic Oddysey
Work
A Graphic Oddysey
Axima cus. Ro et mo conseditate rernatur? Ovit ullame nis quo eum dolorepudit quatet excest quo modiat. Sed quaecusapis conseque volorro et laborem aut labo. Id eum, ut occab il magni blaborem atiorupta consed eum utatatum qui sitio excea pore apereperrum volum dolorem poreproviti ommodio nseque consequi dolorpo rerores ut volorite preperspedi aliam experibeatem seque sequist quam sinciet odit peliquat quide vel ium evelessum, nonsendam exeri officiae aut eum il illandit fugia ducia doluptas aperfer chilles sinissima sinctat verios es dollam es nos acepudita sus nonecepudi nulpa as magnimu sandit omniendebis mos aut pa verspellabo. Sed quae dus aceatum ate conserem. Optas conseque nonserum quissunt que nis dolut aligenihil id enistiumquas con enditinto dolorem utatemque volendi gnimus que eles minctem velicim sam quae pario bla conse volorup taspicietur ad ute ped quide ommodipsam et quis cusandi temporit voluptiam int. Isquissim sumque aut autemolum fugias molo occulloreped quia di doluptateces aut lant omnimint.Obisquam et pa eos il est, que dolupti utatur? Et as mollore stotatiam, eos voluptatur alitio. Ut quo voluptiis volliqui ut reriam eatum re nobitia dis arcipic tatenem. Optamet labo. Ostiat as porrore nonsequ aessinv endebisciam num dolupta sit aribus ditatem sequunti que dendi
Wim Crouwel
Wim Crouwel started his own free-lance practice in amsterdam (1954). In 1963, with benno wissing, friso kramer and the schwarz brothers, he founded design studio total design. He designed and oversaw extensive work for the stedelijk museum in amsterdam (1964-85).
Wim Crouwel
Wim Crouwel
Henrik Kubel
A2/SW/HK is an independent design studio formed in 2000 by Scott Williams and Henrik Kubel. The team has a conceptual approach to problem solving across various disciplines. They create bespoke typefaces and custom-made design solutions for each project that are informed and shaped by a clear understanding of both content and context.
A talk Danny van Dungen and Marieke Stolk of Experimental Jetset
Wim Crouwel
A2/SW/HK
hsilgnE
4
Axima cus. Ro et mo conseditate rernatur? Ovit ullame nis quo eum dolorepudit quatet excest quo modiat. Sed quaecusapis conseque volorro et laborem aut labo. Id eum, ut occab il magni blaborem atiorupta consed eum utatatum qui sitio excea pore apereperrum volum dolorem poreproviti ommodio nseque consequi dolorpo rerores ut volorite preperspedi aliam experibeatem seque sequist quam sinciet odit peliquat quide vel ium evelessum, nonsendam exeri officiae aut eum il illandit fugia ducia doluptas aperfer chilles sinissima sinctat verios es dollam es nos acepudita sus nonecepudi nulpa as magnimu sandit omniendebis mos aut pa verspellabo. Sed quae dus aceatum ate conserem. Optas conseque nonserum quissunt que nis dolut aligenihil id enistiumquas con enditinto dolorem utatemque volendi gnimus que eles minctem velicim sam quae pario bla conse volorup taspicietur ad ute ped quide ommodipsam et quis cusandi temporit voluptiam int. Isquissim sumque aut autemolum fugias molo occulloreped quia di doluptateces aut lant omnimint.Aliqui culluptat as qui secatiis et ullut liamet volupta quuntur sinus, omnis reni acea nisquo coneceaquat.Os ut reius ius quaerenditi officim aiorporem ilignimin plabo. Apel et apid magnim aut et aut am, nullab ius est int ommolorem volenducitis et volest, occus, officate voluptaturit fugitem ratios rercipsaeped qui num aut et eum in con etus eictur, comnimaio. Ulpa sinveri oreicia doluptaecae qui ideriossenis magnisquo omnisquo eatiam fugitiis delendignis il moloOccup-
tatiae natae porissin nam ut evel invent la quam dit, velicil luptiunt, que nonse volupta turesec eperia sum simet alita dolum estectaquiam volupta quiate dolum derspelit, ere aut reptatium sit, quam, sam que dolo eosamet aperovit eossin reptas il es ma in placcus, quibus. Occuptur? Torrovi delluptatio volorios sitibus si odis adisita taturior si quiassit alitiunt. Necaboreror aliquiatet parchil ium et aut plab id ut quassi ut is aut hicto molentis endio. Et eaquiatiur, ea autemol uptatur? Solupta nim voloreperae eum, quia volorehent fuga. Rias sed uta sincte verferu picidi dis dolesequi is se veriorpor a nimiliat prae ea ventiur alist arunt. Ovid mod ut audaeca tentiur alibusdam, serepta dolupta tempos magnita nihil et omnime vollessero dolor sam aborporum untiori busdandi ad magnistiur aciati quam reped mod quae venisti untur, aut rem illent apis simus essit, tem sanda simincte aut fuga. Iquas incturi beatemp orisitae. Nem cum utem estestia de voluptas eum nimpostrum comnit lam, nat. Im evenisq uidisqu amusaero officia spitaquae si nimoluptatia de consererum la quias et vellentiam renis prerspere expe nisci omnihitatur sandeles aut lant que doles dercid maio. De vellaut reius dolorrum excepudis re excese net maion pos volo od quae doluptur mossin nobis aut omnihit, illest doluptatem harchicae nobit ene est mo occate nam, sita quae nustiation evel ere odiat ex est accus eos et facium que voluptum dolupid que ni tem eri volorum accaepu dicatiatum aut velitas apid minihici im verchiti inveles-
5
Max Gregory
Event programme
Talk Transcripts
OUGD301
Three column layout with body copy set in both
The programme is split into spreads for each of
Offeset 5 column grid
Single column layout due to the small size of the
Single column offset grid
Level 6
English and German to reflect the relevance
the designers in the exhibition. These spreads have
Text set in Akzidenz Grotesk
document, printed black and white on textured
Text set in Akzidenz Grotesk
3/5
of communication in modernist design and
a bio of each designer, with one of their pieces
7 on 11pt body / 20 on 24pt headers
stock to remain cheap to print because of the
8 on 11pt body / 10 on 12pt headers
to accomodate for the events taking place in
featured in the exhibition. This is turned followed
6pt page information
number needed, allowing for printing of different
6pt page information
countries where English is not the native language.
by section of a transcribed interview with Josef
Flood red dividing pages
language editions. Slightly larger body copy making
The grid gives a much more rigid structure to the
Müller-Brockman, widely considered one of the
Flood red inside french fold
talk easier to read.
programme which helps the flow of information,
most influential designers on the development of
especially with the two distinct languages.
the Swiss style.
3
Typografia 2 Publications
4
4
Max Gregory
Event programme
Talk Transcripts
OUGD301
200 x 200mm
105 x 148mm
The event programme and Talk Transcripts for the
The programme provides those attending the
Level 6
French fold
Single signatures
event are produced in a clean and ordered style,
exhibition with a guide to the designers whose
4/5
Flood red inner pages
Stitch bound
relevant to the content of the exhibition but also
work is displayed aswell as being a piece of
Full colour digital print
Black & white
easy to navigate. Textured stocks reminiscent of
good quality print that can be taken away. Talk
perfect bound
pale brown textured cover
the subdued colour palette of the swiss modernists
transcripts are typed up version of the talks given
off-white textured stock
off-white texture inner pages
due to the process by which they were printing
by the designers and provide people with the
being fairly new.
opportunity to look back on what has been said.
Typografia 2 Posters
5
5
Max Gregory
Digitally printed
Along with the publication, I printed some of the
I am pleased with the outcomes and found that
I chose to print the A2/SW/HK talk poster A1 as
OUGD301
1 A1 talk poster
posters to promote the exhibition digitally. This
the formats worked well. Ideally I think all the
the design I had for this poster was only effective
Level 6
2 A2 exhibition posters
gave me a better idea of the scale of the posters
posters would be at least A1 format as this would
at this size. I have also mocked up some of the
5/5
(double sided)
and whether I had made the right choice in terms
give them much more impact due to their size. It
poster in situe in the entrance of the Museum F端r
of format and text size on the posters.
would also allow me to increase the size of certain
Gestaltung and I think these work quite nicely.
text elements so that they would be legible from further away.